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Of ILLINOIS


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this material is responsible for its return on or before the Latest Date stamped below. mutilation and underlining of books are reasons for disciplinary action and may Theft,

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UNIVERSITY OF

ILLINOIS

from the University. LIBRARY AT

URBANA-CHAMPAIGN

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MAY JAN 2 81 L161

O-1096


THE DANCE OF DEATH


Tins Kdition consists of

500 ordinary copies Imperial i6mv, and 100 numbered copies on Japanese Vellum

',

Demy


Fhe Dance of Death by Hans Holbein, with an introductory note by

Austin Dobson

London

:

George Bell

Covent Garden,

&

& New

Sons,

York.

York

Street,

Mdcccxcij.


CHISWICK PRESS:

c.

WHITTINGHAM AND CHANCERY LANE.

co.,

TOOKS COURT,


THE DANCE OF DEATH. ES la

Simulachres sf Historiees Faces de Mort avtant elegamment

pourtraictes, que artificielle- The Book.

ment imaginees." This may be Englished as follows: 'The Imand Storied as Death y Aspects of ages '''elegantly

-Such

is

delineated as \_they are\ ingeniously imagined. literal title of the earliest edition of the

the

" /amous book now familiarly known as Holbein s ~Dance of Death." It is a small quarto, bearing on

below the French words above quoted, the legend Vsus me Genuity and on an open book, Gnothe seauton. Below this " de r comes again, Soubz I'escu Lyon^ Coloigne : D. xxxvin," while at the end of the volume is the ^M. " Excvdebant <> imprint Lvgdvni Melchior et Gaspar ^its title-page,

a nondescript

emblem with

A

A" ^rechsel fratres

(

of

German

:

1

538,"

origin,

the Trechsels being printers long been established at

who had

3235S9


The Dance of Death.

2

" or Preface There is a verbose " Epistre Lyons. " moult reuerende Abbesse du rein French to the ligieux conuent S. Pierre de Lyon, Madame lehanne de Touszele" otherwise the Abbess of Saint Pierre les Nonnains, a religious house containing many noble and wealthy ladies, and the words " Salut dun vray Zele" which conclude the dedicatory heading, are supposed " to reveal indirectly the author of the " itself, namely, Jean de Vauzelles, Pastor Epistre of St. Remain and Prior of Monrottier, one of three famous literary brothers in the city on the Rhone, whose motto was <c D'un vray Zelle" After the Preface comes " Diuerses Tables de Mort^ non painctes, mats extraictes de I' e scripture saincte, colorees par Doc-

&

teurs Ecclesiastiques, umbragees -par Philosophes" Then follow the cuts, forty-one in number, each having its text from the Latin Bible above it, and

below, its quatrain in French, this latter being understood to be from the pen of one Gilles Corozet. To the cuts succeed various make-weight Appendices of a didactic

and hortatory character, the whole being

wound up by de

la

Mort

a profitable discourse, De la Necessite qui ne laisse riens estre pardurable.

Various editions ensued to this

first

one of 1538,

the next or second of 1542 (in which Corozet's verses were translated into Latin by Luther's brother-in-

law, George

Oemmel

or Aemilius), being put forth

by Jean and Francois Frellon, into whose hands the establishment of the Trechsels had fallen. There were subsequent issues in 1545, 1547, !549> I 554> and 1562. To the issues of 1545 and 1562 a few supplementary designs were added, some of which have no special bearing upon the general theme,


The Dance of Death.

3

although attempts, more or less ingenious, have been made to connect them with the text. After 1562 no addition was

made

to the plates.

From

the date of the editio prtnceps it might be supposed that the designs were executed at or about 1 538 the year of its publication. But The Artist. is not the case and there is good evidence that they were not only designed but actually

this

;

wood some eleven years before the book was published. There are, in fact, several

cut on the itself

sets

of impressions

Museum,

in the British

the Basle

Museum,

the Berlin

the Imperial Library Ducal Cabinet at Carlsruhe,

Museum,

and the Grand of which correspond with each other, and are believed to be engraver's proofs from the original blocks. These, which include every cut in the edition of 1538, except " The Astrologer," would prove little of themselves as to the date of execution. But, luckily, there exists in the Cabinet at Berlin a set of coarse enlarged drawings in Indian ink, on brownish paper, of twenty-three of the series. These are in circular form; and were apparently intended as at Paris, all

That they are copied sketches for glass painting. from the woodcuts is demonstrable, first, because they are not reversed as they would have been if they were the and, secondly, because one of them, No. 36 originals ("The Duchess"), repeats the conjoined "H. L." ;

on the bed, which initials are held to be the monogram of the woodcutter, and not to be part of the The Berlin drawings must therefore original design. have been executed subsequently to the woodcuts and ;

one of them, that representing the Emperor, is dated u 1527," we get a date before which both the woodcuts, as


The Dance of Death.

4

and the designs for the woodcuts, must have been prepared. It is generally held that they were so prepared circa 1524. and 1525, the date of the Peasants' War, of the state of feeling excited by which they exhibit evident traces.

In the Preface to this

first edition, to we shall prewhich ambiguous expressions, of the led some earlier on the subwriters sently refer, to doubt as to the designer of the series. But ject

certain

Wornum and Woltmann, of Paul Mantz, and more recently, of Mr. W. J. Linton, leave no doubt that they were really drawn by the artist to whom they have always been traditionally assigned, to wit, Hans Holbein the younger. He was resident in Basle up to the autumn of 1526, before which time, according to the above argument, he had the drawings must have been produced an of Death and, morealready designed Alphabet on the walls of the of the Dominican over, cemetery at Basle there was a famous monastery wall-painting of the Dance of Death, which would be a perpetual stimulus to any resident artist. Finally, and this is the most consideration of all, the important perhaps in Holbein's manner. are designs But besides revealing an inventor of the highest the later researches of

M.

;

;

order, the 'Dance of interpreter

Death

wood of The ability. in

also discloses an

signal,

and

even

designs are cut

superlative, to use the word which implies the employment of the knife as opposed to that of the graver in a manner

which has never yet been excelled. In this matter there can be no better judge than Mr. W. J. Linton; and he says that nothing, either by knife or by graver, is of Yet the higher quality than these woodcuts.


The Dance of Death.

5

woodcutter's very name was for a long time doubtful, and even now the particulars which we possess with That he regard to him, are scanty and inconclusive. was dead when the Trechsels published the book in 1538, must be inferred from the "Epistre" of Jean

de Vauzelles, since that cc Epistre" expressly refers to "la mort de celluy, qui nous en a icy imagine si elegantes " figures ; and without entering into elaborate enquiry as to the exact

" meaning of imaginer

"

in sixteenth-

obvious that, although the decentury French, ceased is elsewhere loosely called " fainctrc" this title cannot refer to Holbein, who was so far from being dead that he survived until 1543. The only indication of the woodcutter's name is supplied by the " " tL upon the bedstead in No. 36 monogram, ("The Duchess"); and these initials have been supposed to indicate one Hans Lutzelburger, or Hans of Luxemburg, cc otherwise Franck," a form-cutter ("formschneider"), whose full name is to be found " Little Dance of attached to the so-called Death," an of which are in the alphabet by Holbein, impressions it is

British

Museum.

His

signature

("H.L.F. 1522")

found appended to another alphabet to a cut of a fight in a forest, dated also 1522 and to an engraved title-page in a German New Testament of the This is all we know with certainty year following. his work, concerning though the investigations of Dr. Edouard His have established the fact that a ''form" schneider named Hans, who had business transactions with the Trechsels of Lyons, had died at Basle before June, 1526; and it is conjectured, though absolute proof is not forthcoming, that this must have been the " H.L.," or Hans of Luxemburg, who cut is

also

;

;


The Dance of Death.

6

In any case, unHolbein's designs upon the wood. we must assume another woodcutter of equal merit, it is probable that the same man cut the signed Alphabet in the British Museum and the initialed Dance of Death. But why the cuts of the latter,

less

which, as

we have shown

above, were printed circa

1526, were not published at Lyons until 1538; and why Holbein's name was withheld in the Preface to the book of that year, are still unexplained. The generally accepted supposition is that motives of timidity, arising from the satirical and fearlessly unsparing character of the designs, may be answerable both for delay in the publication and mystification in the " Preface."

And if intentional mystification be admitted, the doors of enquiry, after three hundred and fifty years, are practically sealed to the critical picklock.

The Dance

of Death has been frequently copied. J. Linton enumerates a Venice reReproducproduction of 1 545 ; and a set (enlarged) by Jobst Dienecker of Augsburg in 1554. Then there is the free copy, once popular with our grandfathers, by Bewick's younger brother ohn, which Hodgson of Newcastle published in 1789 ?reat under the title of Emblems of Mortality. Wencelas Hollar etched thirty of the designs in 1651, and in 1788 forty- six of them were etched by David Deuchar. In 1832 they were reproduced upon stone with great care by Joseph Schlotthauer, Professor in the Academy of Fine Arts at Munich ; and these were re-issued in this country in 1849 ^7 J onn Russell Smith. They have also been rendered in photo-lithography for an edition issued by H. Noel other

Mr- W.


'The in

Humphreys ^n

1879.

I

Dance of Death.

1868

;

j

and for the Holbein Society

886, Dr. F.

Lippmann

edited for

in

Mr.

of reproductions of the engraver's Berlin in the Museum and the editio princeps proofs has been facsimiled by one of the modern processes for Hirth of Munich, as vol. x. of the LiebhaberQuaritch a

set

;

Bibliothek, 1884.

The

copies given in the present issue are impres-

from the blocks engraved in 1833 for Douce's Holbein's Dance of Death. They are

sions

The present

the best imitations in wood, says Mr. Linton. It is of course true, as he also points out, that a copy with the graver can never quite faithfully follow an original

which has been cut with the

knife,

more espe-

cially, may be added, when the cutter is a supreme craftsman like him of Luxemburg. But against etched, lithographed, phototyped and otherwise -processed copies, these of Messrs. Bonner and John By field have one incontestable advantage they are honest atit

:

tempts to repeat

wood,

Hans

by the same method,

that

is,

in

the original and incomparable woodcuts of

Lutzelburger.


THE DANCE OF DEATH. (CHANT ROYAL, AFTER HOLBEIN " Contra vim Mortis

Non

est

E

medicamen in bortis"

is

All

the despots' Despot.

must

bide,

Later or soon, the message of his might.;

Princes

and potentates their heads

must

Touched by

hide,

of his right Beside the Kaiser he at eve doth wait And pours a potion in his cup of state; The stately Queen his bidding must obey No keen eyed Cardinal shall him affray And to the Dame that wantoneth he saith "Let be, Sweet-heart, to junket and to play." There is no king more terrible than Death. the awful

sigil

;

;

;

1

At the suggestion of the general editor of the present series, Chant Royal of the King of Terrors is here reprinted from the eleventh edition of Old-World Idylls, 1892. It does not of this

course pretend to the rigorous exactitude of a commentary.

C


io

T'he

Dance of Death.

The

lusty Lord, rejoicing in his pride, draweth down before the armed Knight With jingling bridle-rein he still doth ride

He

;

;

He

crosseth the strong Captain in the fight;

The Burgher grave he beckons from

He

hales the

Nor

No

Abbot by

his

debate shaven pate,

;

for the Abbess' wailing will delay;

bawling Mendicant shall say him nay ; E'en to the pyx the Priest he followeth, Nor can the Leech his chilling finger stay There is no king more terrible than Death.

.

.

bow to him. And woe betide The Wine-bibber, the Roisterer by night

All things must

;

Him Him Woe

the feast-master, many bouts defied, 'twixt the pledging and the cup shall smite

Woe Woe

to the

Lender at usurious rate, The hard Rich Man, the hireling Advocate

;

to the

to

Judge the Thief

With creeping These,

There

that selleth right for pay that like a beast of prey

tread the traveller harryeth

;

;

:

sudden sword shall slay no king more terrible than Death.

in their sin, the is

.

He

hath no pity, nor will be denied. the low hearth is garnished and bright, Grimly he flingeth the dim portal wide, And steals the Infant in the Mother's sight; He hath no pity for the scorned of fate He spares not Lazarus lying at the gate, Nay, nor the Blind that stumbleth as he may ;

When

:

Nay, the

tired

at the sinking ray, an icy breath,

Ploughman,

In the last furrow,

feels

.


The Dance of Death.

\

And knows There

is

a hand hath turned the team astray no king more terrible than Death.

.

.

He

hath no pity. For the new-made Bride, Blithe with the promise of her life's delight, That wanders gladly by her Husband's side,

He He

with the clatter of his drum doth fright scares the Virgin at the convent grate

;

;

The Maid

half- won, the Lover passionate ; hath no grace for weakness and decay The tender Wife, the Widow bent and gray,

He

:

The feeble Sire whose footstep faltereth, All these he leadeth by the lonely way There is no king more terrible than Death. .

.

ENVOY. for whose ear and monishing of late, sang of Prodigals and lost estate, Have thou thy joy of living and be gay ; But know not less that there must come a day,

YOUTH, I

Aye, and perchance e'en now

When

thine

There

is

own

it hasteneth, heart shall speak to thee and say,

no king more

terrible

than Death. A. D.

1877.

i


LIST OF ILLUSTRATIONS. The German

N.B.

titles

modernized

are

HE

from those which

The numerals

appear above the engraver's proofs. of the cuts.

are those

CREATION

i

Die Srbopfang

Eve

is

aller

Ding.

taken from the side of

Adam.

THE TEMPTATION

n

Adam Eva

im Paradies. Eve, having received an apple from the serpent, prompts Adam to gather more.

THE EXPULSION

in

Austreibung Ade Eve.

Adam

and Eve, preceded by Death, playing on

beggar's lyre or hurdy-gurdy, are driven by the angel from Eden.

a

THE CONSEQUENCES Adam

A

baut

OF THE FALL

iv

Erden. Adam, aided by Death, tills the earth. Eve, with a distaff, suckles Cain in the background. die

CEMETERY

v

Gebein aller Menscben.

A

crowd of

pets,

skeletons, playing

and the

like,

on horns, trum-

summon mankind

to

the

grave.

THE POPE Der

vi

Papst.

The Pope (Leo an

X.) with Death

Emperor, who

Death,

kisses

in a cardinal's hat,

is

his

crowns Another

at his side,

foot.

among

the assistants.


1

List of Illustrations.

4

vn

THE EMPEROR Der

Kaiser.

The Emperor

(Maximilian

for injustice to a suitor.

I.)

rates his minister

But even in the act

Death discrowns him.

vm

THE KING Der

Konig.

The King

(Francis

I.) sits at feast

dachin sprinkled \v\t\\ fleurs-de-lis. cup-bearer, pours his last draught.

under

a bal-

Death, as a

THE CARDINAL Der

ix

Cardinal.

Death

off the Cardinal's hat as he is

lifts

a letter of indulgence to a rich

opponent, Cardinal Cajetan,

is

handing

man.

Luther's supposed to be

represented.

THE EMPRESS Die

x

Kaiserinn.

The

Empress, walking with her women, is inwho conducts her

tercepted by a female Death, to an open grave.

THE QUEEN

xi

Die Koniginn. Death, in the guise of a court-jester, drags away the

THE Der

Queen

as she

is

leaving her palace.

xn

BISHOP Biscbof.

The

sun is setting, and Death leads the aged Bishop from the sorrowing shepherds of his flock.

THE DUKE

xin

Der Herzog. The Duke

turns pitilessly from a

and her child.

crowned,

lays

beggar-woman Meanwhile Death, fantastically

hands on him.

THE ABBOT Der Abt. Death, having despoiled the Abbot of mitre and and threaten-

crozier, hales him along unwilling, ing his enemy with his breviary.

xiv


List of Illustrations. THE

ABBESS

Die

Abtissin.

15 xv

Death, in a wreath of Abbess by her scapulary

flags, pulls in sight of a

away

the

shrieking

nun.

THE NOBLEMAN

xvi

Der Edelmann. Death drags the

resisting

Nobleman towards

a

bier in the background.

THE CANON, OR PREBENDARY

xvn

Der Domherr.

The Canon,

with his falconer, page, and jester, enters the church door. Death shows him that

his

sands have run.

xvm

THE JUDGE Der

Ricbter.

Death withdraws the Judge's a bribe

from

staff as

he takes

a rich suitor.

THE ADVOCATE

xix

Der Furspracb. Death comes upon him is

being feed by a rich

in the street

while he

client.

THE COUNSELLOR, OR SENATOR Der Ratbsberr. The Counsellor, prompted by

xx

a devil, is absorbed by a nobleman, and turns unheeding from a poor suppliant. But Death, with glass and spade, is waiting at his feet.

THE PREACHER Der

xxi

Predicant. in a stole, stands in the pulpit behind the fluent Preacher, and prepares to strike him

Death,

down with

THE

a

jaw-bone.

xxn

PRIEST, OR PASTOR

Der Pfarrberr.

He

carries

the

host

Death precedes him

to

a

sick

person.

as his sacristan.

But


1

6

List of Illustrations.

THE MENDICANT

xxm

FRIAR

Der Moncb. Death

seizes

him

just as his begging

box and bag

are filled.

THE NUN

xxiv

Die Nonnc.

The young Nun kneels at the to her lover who plays upon meantime,

as

a hideous

but turns

altar, a

lute.

Death

old hag, extinguishes

the altar candles.

THE OLD WOMAN

xxv

Das Altweib. " Melior

est mors quam vita" to the aged woman crawls gravewards with her bone rosary while Death makes music in the van.

who

THE

PHYSICIAN

Der

Arzt.

xxvt

Death brings him him cure himself.

THE ASTROLOGER (Seep.

3,

/.

.

.

.

a hopeless patient,

and bids

xxvn

.'

17-)

He

contemplates a pendent sphere.

But Death

thrusts a skull before his eyes.

THE RICH MAN

xxvm

Der Reicbman. Death

finds

him

at his pay-table

and seizes

his

money.

THE MERCHANT Der Kaufmann. Death

xxix arrests

him among

his

newly-arrived

bales.

THE SHIPMAN Der

xxx

Schiffmann.

Death breaks the mast of the crew are in extremity.

ship,

and the


List of Illustrations.

\

THE KNIGHT Der

xxxi

Ritter.

Death, in cuirass and through the body.

chain-mail,

runs

him

xxxn

THE COUNT Der

7

Graf. as a

Death,

peasant with

a flail, lifts

away

his

back-piece.

xxxm

THE OLD MAN Der Altmann. Death, playing on a dulcimer, leads him into his grave.

THE COUNTESS

xxxiv

t

Die Grafnn. Death helps her at her tiring by decorating her with a necklet of dead men's bones.

THE NOBLE LADY, OR Die

xxxv

BRIDE

Edelfrau.

"Me

et te sola

And Death

says the motto.

mors separabit"

already dances before her.

THE DUCHESS

xxxvi

Die Herzoginn.

Death

seizes her in bed,

while his fellow plays

the fiddle.

THE PEDLAR Der Kramer. Death

.

stops

him on

xxxvn

the road with his wares at

his back.

THE PLOUGHMAN

xxxvin

Der Acker rnann. Death runs

at the horses' sides as the

sun sinks,

and the furrows are completed.

THE YOUNG CHILD

xxxix

Das Junge Kind. As the meagre cottage meal steals

the youngest child.

D

is

preparing, Death


1

List of Illustrations.

8

THE LAST JUDGMENT Das Jungs te

............

XL

Gericbt.

" Omnes stabimus ante tribunal Domini T

THE ESCUTCHEON Die Wappen

OF

.........

DEATH

XLI

des Todef.

The

supporters represent Holbein and his wife. in later editions^

THE

SOLDIER

...........

.

XLII

Death, armed only with a bone and shield, fights with the Soldier on the field of battle.

THE GAMESTER

.

............. Gambler

XLIII

......... ....

XLIV

Death and the Devil

upon the

seize

at

his cards.

THE DRUNKARD Men and women

carouse

;

down

the throat of

one bloated fellow Death pours the wine.

............

...

THE FOOL The who THE ROBBER

plays the bagpipes.

............... Death Robber MAN ............. THE Death Man THE WAGGONER ............. The seizes the

in the act

leads the Blind

by his

XLVI

of pillage.

BLIND

XLVII

staff.

.

XLVIII

overturned; one Death carries wheel, the other loosens the fastening of a

waggon

off a

XLV

Fool dances along the highway with Death

is

cask.

...............

THE BEGGAR The

XLIX

Beggar, lying on straw outside the city, cries in vain for Death.

[Two

" The others, not found in the earlier editions, Young The Young Husband," are not included in the Douce reprint for which the foregoing

" Wife," and

blocks were engraved.]


Lcs

fimulaclires

&

HISTORIBES FACES DE LA MORT,

AVTANT

gammet potntrai&es,que

ELE

artifw

cidlemcnt imaginees,.

Vfusme

LYON,

A Soubz

COL OIG xx x v in.

Tcfcu dc

1

N E.


Formauit DOMINVS DEVS homi-

nem

de

limo

terrae,

ad

imagine

fuam creauit ilium, mafculum foeminam creauit eos.

GENESIS

DIEV, De rien Et

i.

&

&

n.

Mer, Terre, procrea demonftrant fa puiflance

Ciel,

puis de la terre crea

L'homme, blance.

&

la

femme

a fa fem-


THE CREATION.


Quia

audifti

vocem

vxoris tuae,

&

comedifti de ligno ex quo precepe-

ram

tibi

ne comederes &c.

GENESIS in.

ADAM fut par EVE Et contre

Dont

tous

Et depuis

deceu

DIE V mangea la pomme, deux ont fut

la

Mort receu, homme.

mortel tout


II

THE TEMPTATION.


eum DOMINVS DEVS

Emifit

Paradifo voluptatis,

vt

terram de qua fumptus

de

operaretur eft.

GENESIS in.

DIEV

chaiTa

1'homme de

Pour uiure au labeur de Alors

la

Mort

le

uint

plaifir fes mains

faifir,

Et confequemment tous humains.

:


III.

THE EXPULSION.


Maledi&a laboribus vilae tuae,

terra

in

opere tuo, in

comedes cundtis diebus donee reuertaris &c.

GENESIS in.

Mauldi&e en ton

En

labeur la terre.

labeur ta uie uferas,

lufques que la Mort te foubterre. Toy pouldre en pouldre tourneras.


IV.

THE CONSEQUENCES OF THE

FALL.


vae vae habitantibus in terra.

APOCALYPSIS vm. CuncSta in quibus fpiraculum st,

mortua

vitae

funt.

GENESIS vn.

Malheureux qui uiuez au monde Toufiours remplis d'ad uerfitez, Pour quelque bien qui nous abonde, Serez tous de Mort uifitez.


V.

A CEMETERY.


Moriatur facerdos magnus. IOSVE xx.

Et epifcopatum eius accipiat alter. PSALMISTA CVIII.

te cuydes immortel eftre Par Mort feras toft depefche, Et combien que tu foys grand

Qui

prebftre, aultre aura ton Euefche.

Vng


VI.

THE POPE.


Difpone domui tu,

&

non

tuae, morieris viues.

enim

xxxviu. Ibi morieris,

& ibi erit currus gloriae

tuae.

ISAIJE

De

ta

xxn.

maifon difpoferas de ton bien tranfitoire,

Comme Car

la

Seront

ou mort les

repoferas,

chariotz de ta gloire.


VII.

THE EMPEROR.


Sicut tur,

& rex hodie eft, & eras

nemo enim

morieex regibus aliud

habuit.

ECCLESIASTICI X.

Ainfi qu'auiourdhuy

Demain

il

eft

Roy,

en tombe clofe. aulcun de fon arroy

fera

Car Roy N'a fceu emporter

aultre chofe.


VIII.

THE KING.


Vae qui neribus, ab eo.

iuftificatis

&

impium pro

iuftitiam iufti

ESAIE

Mai pour uous

&

v.

qui iuftifiez plain de malice,

L'inhumain, Et par dons le fan&ifiez, Oftant au iufte fa iuftice.

mu

aufertis


IX.

THE CARDINAL.


Gradientes in fuperbia poteft Deus humiliare.

DANIE. mi.

Qui marchez en pompe fuperbe

La Mort vng

iour uous pliera.

Comefoubzuozpiedzployezrherbe, Ainfi uous humiliera.


THE EMPRESS.


Mulieres opulentae furgite, & audite vocem meam. Poft dies, & annum, vos conturbemini.

&

ISAI^E xxxii.

Leuez uous dames

opulentes.

uoix des trefpaffez. maintz ans iours paflez, Apres Serez troublees doulentes.

Ouyez

la

&

&


THE QUEEN.


Percutiam paftorem,

& difpergentur

oues.

xxvi.

Le

xiiii.

pafteur auffi frapperay, crofles renuerfees.

Mitres

Et

MAR.

lors

Seront

&

quand

ie

Pattrapperay,

fes brebis difperfees.


XII.

THE

BISHOP.


induetur mcerore. Et faciam quiefcere fuperbia potentium. Princeps

EZECHIE. vu.

Vien, prince, auec moy, & delaifle Honneurs mondains toft fmifTantz. Seule

fuis qui, certes, abaifTe

L'orgueil

&

pompe

des puiflantz.


XIII.

THE DUKE.


Ipfe morietur. Quia no habuit difin multitudine llultitiae ciplinam,

&

fuae dccipietur.

PROVER.

mourra. Car il n'a receu foy aulcune difcipline, Et au nombre fera deceu De folie qui le domine. II

En

v.


XIV.

THE ABBOT.


Laudaui

magis

mortuos

quam

viuentes.

ECCLE.

ii ii.

mortz plus loue mal abonde, Mort ma noue Toucesfoys Au ranc de ceulx qui font au monde. I'ay toufiours les

Que

les uifz, efquelz la


XV.

THE

ABBESS.


Quis de

homo qui viuet, & non mortem, eruet anima fuam

eft

videbit

manu

inferi

?

PSAL. LXXXVIII.

Qui eftcelluy, tant foit grand homme, Qui puifle uiure fans mourir ? Et de la Mort, qui tout aflbmme, Puifle fon

Ame

recourir

?


XVI.

THE NOBLEMAN.


Ecce appropinquat

hora.

MAT.

xxvi.

Tu

uas au choeur dire tes heures Paiant Dieu pour toy, ton proche. Mais il fault ores que tu meures.

&

Voy

tu pas 1'heure qui approche

?


XVII.

THE CANON.


Difperdam iudicem de medio

AMOS

eius. ii.

Du mylieu d'eulx uous ofteray luges corrumpus par prefentz. Point ne ferez de Mort exemptz. ailleurs uous tranfporteray.


XVIII.

THE JUDGE.


Callidus vidit

& abfcodit fe & affli&us eft

malum,

innocens, pertranfijt,

damno.

PROVER. xxn.

L'homme

cault a ueu la malice Pour 1'innocent faire obliger, Et puis par uoye de iuftice Eft uenu le pauure affliger.


THE ADVOCATE.


Qui obturat aurem fuam ad clamorem pauperis, & ipfe clamabit, & non exaudietur. PROVER. xxi.

Les riches confeillez toufiours, Et aux pauures clouez 1'oreille. Vous crierez aux derniers iours, Mais Dieu uous fera la pareille.


THE COUNSELLOR.


Vae qui

dicitis

.malum bonum,

&

bonum

malu, ponentes tenebras lulucem tenebras, ponentes cem, amarum dulce, & dulce in amarum.

&

ISAIM xv.

Mai pour uous qui ainfi ofez Le mal pour le bien nous blafmer, Et le bien pour mal expofez, Mettant auec le doulx Farrier.


XXI.

THE PREACHER.


Sum quidem &

ego mortalis homo. SAP. vn.

le porte

le fain<5t

Cuidant

le

Qui mortel

facrement

mourant fuis

fecourir,

pareillement.

Et comme luy me

fault mourir.


THE

PRIEST.


&

Sedentes in tenebris,

in

vmbra

mortis, vin&os in mendicitate.

PSAL. cvi.

Toy

qui n'as foucy,

ny remord

Sinon de ta mendicite,

Tu

fierras a

Pour

Pumbre de Mort

t'oufter de neceflite.


XXIII.

THE MENDICANT FRIAR.


Eft via quae videtur homini iufta nouifiima autem eius deducunt hominem ad mortem. :

PROVER. mi.

Telle uoye aux humains

eft

bonne,

Et a 1'homme trefiufte femble. Mais la fin d'elle a 1'homme donne, LaMort,qui tous pecheurs affemble.


XXIV.

THE NUN.


Melior

eft

mors quam vita. ECCLE. XXX.

En

peine ay uefcu longuement plus de uiure enuie, Mais bien ie croy certainement, Meilleure la Mort que la uie.

Tant que nay


XXV.

THE OLD WOMAN.


Medice, cura teipfum.

mi,

TTu congnoys bien

Pour

le

Et

ne

fi

Le mal

la

maladie

patient fecourir, fcais tefte eftourdie,

dont tu deburas mourir.


XXVI.

THE

PHYSICIAN.


Indica mihi

quod

fi

nofti

omnia.

nafciturus effes,

Sciebas

& numerum

dierum tuorum noueras

?

IOB xxvin.

Tu Ce

dis par

Amphibologie

qu'aux aultres doibt aduenir.

Dy moy done par Quand tu deburas

Aftrologie a moy uenir

?


XXVII.

THE ASTROLOGER.


Stulte hac

tuam,

&

no&e

repetunt animam quae parafti cuius erunt ?

LVCJE

Cefte

nui&

la

Mort

xii.

te prendra,

Et demain feras enchafle. Mais dy moy, fol, a qui uiendra

Le

bien que tu as amafle

?


XXVIII.

THE

.RICH MAN.


Qui congregat vanus

thefauros mendacij

& excors eft, & impingetur ad

laqueos mortis.

PROVER. xxi.

Vain eft cil qui amaflera Grandz biens,&tresors pour mentir,

La Mort Car en

Ten

fes

fera repentir. lacz furpris fera.


XXIX.

THE MERCHANT.


Qui volunt laqueum

diuites fieri incidunt in

& nociua, quae

&

defideria multa, mergunt homines in

diaboli,

interitum. I.

AD TIMO.

vi.

Pour acqucnr des biens mondains

Vous entrez en tentation, Qui uous met es perilz fouldains, t

uous rraine a perdition.


XXX.

THE SHIPMAN.


Subito morientur, & in media no&e turbabuntur populi, & auferent vio-

lentum

abfc^

manu. lOB XXXIIII.

Peuples foubdain f 'efleueront lencontre de 1'inhumain,

A

Et

le

uiolent ofteront

D'auec eulx

fans force de main.


XXXI.

THE KNIGHT.


Quoniam cum interiet non fumet fecum omnia, neq^ cum eo defcedet gloria eius.

PSAL. XLVIII.

Auec

foy rien n'emportera,

Mais qu'une foys la Mort le tombe, Rien de fa gloire n'oftera, Pour mettre auec Toy en fa tombe.


XXXII.

THE COUNT.


Spiritus

meus

breuiabuntur,

attenuabitur, dies mei

& folum

mihi fupereft

fepulchrum. IOB xvn.

Mes efperitz font attendriz, Et ma uie fen ua tout beau. Las mes longziours font amoindriz, Plus ne me refte qu'un tombeau.


XXXIII.

THE OLD MAN.


Ducunt

in

bonis dies

fuos,

&

in

pun6to ad inferna defcendunt. IOB xxi.

En

biens modains leurs iours dei-

psndet

En

uoluptez,

&

en

triftefle,

PuisfoubdainauxEnfersdefcendent, Ou leur ioye pafle en triftefle.


XXXIV.

THE COUNTESS.


Me &

te

fob mors fepa

rabit.

RVTH.

I.

Amour qui unyz nous fai& uiure, En foy noz cueurs preparera, Qui long temps ne nous pourra fuy ure, Car la Mort nous feparera.


XXXV

THE NOBLE LADY.


De

le&ulo fuper quern afcendifti

non defcendes,

fed

morte morieris.

mi. REG.

Du

lift fus

Ne

defcendras a ton

lequel as

i.

monte plaifir.

Car Mort t'aura tan toft dompte, Et en brief te uiendra faifir.


XXXVI.

THE DUCHESS.


Venite ad

me

qui onerati

eftis.

MATTH.

&

apres moy marchez qui eftes par trop charge.

Venez,

Vous

Ceft aflez fuiuy

Vous

xi.

ferez par

les

moy

marchez

:

decharge.


XXXVII.

THE PEDLAR.


In fudore vultus

tui

vefceris

pane

tuo.

GENE.

A

fueur de ton uifaige gaigneras ta pauure uie.

la

Tu

Apres long trauail, Voicy la Mort qui

&

ufaige, te conuie.

i.


XXXVIII.

THE PLOUGHMAN.


Homonatus

de muliere,breuiviuens

tempore repletur multis quail

&

flos

egreditur, fugit velut vmbra.

&

miferijs, qui

conteritur,

IOB xiiu.

Tout homme de la femme yfTant Remply de mifere, & d'encombre, Ainfi que fleur toft finifTant. Sort puis fuyt comme faift 1'umbre.

&


XXXIX.

THE YOUNG CHILD.


Omnes

ftabimus ante tribunal do-

mini.

ROMA. xiui. Vigilate,

&

orate, quia nefcitis

hora venturus

fit

qua

dominus.

MATT. xxim.

Deuante le trofne du grand iuge Chafcun de Toy compte rendra Pourtant

ueillez, qu'il

Car ne fcauez quand

ne uous il

iuge,

uiendra.


XL.

THE LAST JUDGMENT


Memorare non

nouiffima,

& in aeternum

peccabis.

ECCLE.

vir.

ueulx uiure fans peche imaige a tous propos, Et point ne feras empefche,

Si tu

Voy

cefte

Quand

tu t'en iras a repos.


XLI.

THE ESCUTCHEON OF DEATH.


[ADDED

IN

LATER

EDITIONS.]


Cum

fortis

&c.

armatus cuftodit

autem

atriii

eo fuperueniens vicerit eum, uniuerfa eius arma aufert, in quibus confisuu,

Si

fortior

debat.

Le

fort arme en jeune corps Penfe auoir feure garnifon ;

Mais Mort

De

plus forte,

le

sa corporelle maifon.

met hors


XLII,

THE SOLDIER.


Quid

prodeft homini,

Mundum suae

fi

vniuersum autem

animae

lucretur,

detrimentum patiatur

?

MATT.

Que vault

a

1'homme

tout

le

xvi.

Monde

Gaigner d'hazard,& chance experte, recoit de fa uie immonde Par mort, irreparable perte ?

S'il


XLIII.

THE GAMESTER.


Ne

inebriemini

vino,

in

quo

luxuria.

EPHES.

De Ne

v.

vin (auquel est tout exces)

vous

enyurez pour dormir

Sommeil de Mort qui au deces Vous face 1'ame, & sang vomir.

eft


XL1V

THE DRUNKARD.


Quafi agnus nefcit

ad

&

ignorans, vincula stultus

lafciuiens,

quod

trahatur.

PROVERB vu.

Le Fol

vit

San fcavoir

en ioye, qu'il

&

deduicSt

fen va mourant,

Tant qu'a fa fin il eft condui6t Ainfi que 1'agneau ignorant.


XLV.

THE

FOOL.


Domine,

vin patior.

xxxvui.

La

femme brigandee seigneur on me fait force.

foible

Crie,

O

Lors de Dieu

Qui

les

la

mort

eft

mandee,

eftrangle a dure eftorce.


XLVI.

'JHE ROBBER.


Caecus caecum ducit foueam cadunt.

:

&

ambo

MATTH.

in

xv.

L'aueugle un autre aueugle guide, L'un par 1'autre en la fofle tombe

:

Carquand plus oultre aller il cuide, La MORT I'homme ieleen la tombe.


XLVII.

THE BLIND MAN.


Corruit in curru fuo. i

CHRON. xxn.

passage de MORT peruerse Raifon, chartier tout efperdu, Du corps le char, & cheuaux verse, Le vin (sang de vie) espandu.

Au


XLVIII.

THE WAGGONER.


Miser ego homo Quis me de corpore mortis huius ? !

liberabit

ROM. vu.

Qui

hors

la

chair veult en Chrift

viure

Ne

craint mort, mais dit un mortel, me rendra deliure

Helas, qui

Pouure

homme

de ce corps mortel

?


XLIX.

THE BEGGAR.


C. WH1TT1NGHAM AND TOOKS COURT, CHANCERY LANE.

CHISWICK PKESS

:

CO.,


\



The dance of death